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This is a technique I was shown a few years ago, and it is really handy when editing a single track such as a bass or vocal line. I should note that this is not a full tutorial on how to edit with Elastic Audio… so if this is what you were looking for, you will have to look elsewhere. However, I highly suggest you read the post anyways – it will greatly speed up your editing time.

First of all, have your track you want to fuck with open in the Edit window in front of you – for our purposes it will be a bass DI track. Enable Elastic Audio (Monophonic), duplicate the track, and then group the two tracks together – I generally make a group called “Edit Group” and move tracks in/out of that group while editing different tracks. Now, while pressing Ctrl go to the Waveform drop-down and select Warp for the top track and Analysis for the bottom track (you may also do this by disengaging the Edit Group temporarily). You now have a setup in which one track will affect the other.

Why is this so special? Because you can see the analysis and warp markers at the same time instead of switching back and forth! Your main track is the top one, in which you can edit with the warp markers as usual, but now, anytime you need to remove/add/move an analysis marker it is directly below the warp marker!

Something a bit different today. While not everyone may enjoy sitting down and listening to a Hedley album, it is undenialable that the quality of recording, editing and mixing is top notch thanks to Jay Van Poederooyen (JVP) – although technically most are not mixed for final release by him. Regardless, I thought I would share some excerpts from one of my notebooks I found recently regarding some recording sessions at Van Howes Studios in Vancouver. I am unsure whether this reggae-inspired remake made it to release yet (perhaps it never will…) but I am fairly certain they use it live.

Drums:

Kick In: 441 pointed at beater

Kick Out: FET 47

Snare: SM57 top and bottom

Toms: 421 top & SM57 bottom wired with a phase-inverted Y-cable to a single channel

Mono mic: Wunder Audio Tele in Cardiod setup to the right of Crippin pointed at the snare

Notes: All panned audience perspective as JVP says drummers perspective is “egotistical”. Also, Omni pattern is hardly used at Van Howes Studios as their opinion is that “you don’t have ears all the way around your head”.

Bongos, Shakers & Other Percussion:

All recorded in the “cave”

AEA R44 ribbon placed between bongos approx. 1.5′ away

Same setup used for shakers, etc.

Bass:

Tommy used a Fender Jazz Bass to a vintage Ampeg head + 8×10 cab

AKG D12 was placed 1/2″ off the grill

Great River MP-2NV preamp (after disliking the SSL desk preamp – too dirty). Discussed taking the DI signal, but decided it was not needed.

So we had a weekend of drum tracking at Aurora Studios Co. It went very well. The acoustics of the live room are pretty good with the 3 mobile baffles in a semi-circle around the kit and the Roxul Safe’n'Sound in the ceiling. At first glance, Nathan thought the room would be quite live sounding with some of the features present in the room, however, he was pleasantly surprised. The final setup was as follows:

Kick – Beta 52A

Snare Top – SM57

Snare Btm – C451B

Rack – 421

Floor – EV Raven

Overheads – Rode NT5′s

Room – 2050

The only improvement could have came from having some new heads on the snare drum as it was a little bit lacking in the high frequencies, so there may be a sample added underneath to spice it up a bit. As for the TG2 preamp, it performed excellently! The cymbals came through amazingly well, lush and not harsh at all. Can’t wait to use that thing with a 57 and 421 with summing turned on. As for the session, time for some drum editing!